FYF announced their line-up yesterday and - for most electronic music devotees – this festival is normally overlooked for its strong musical bias towards everything indie and alternative. Don’t get me wrong, I appreciate a good hipster-pop sensation every now and then but this year’s line-up had a stand out techno anomaly that had me curious enough to browse the entire line-up to catch some other little surprises.

Simian Mobile Disco are repeat FYF performers. The two techno sensations never disappoint, whether it be a DJ or live set. But what is interesting about this year’s FYF is not the festival’s own acronym title – standing for Fuck Yeah Fest - but the ‘B2B’ between SMD and Bicep on their line-up.

You may claim not to know Bicep but I can assure you that there is not much in the world of house and techno that Bicep, or commonly referred to as Feel My Bicep have not touched. Case and point is the recent collab with Simian Mobile Disco released earlier today. The track has the perfect amount of high-hat and 90’s house to be a Bicep track, and yet, there is enough of that mechanistic flair to classify it as Simian. The perfect marriage.Peruse the FYF catalog further and notice disco’s non-conformists, Horse Meat Disco, making its California festival debut. It is an UK takeover, complete with that warehouse-90’s vibe. Another unique addition is Spain native, Pional, who is well known for his collaboration with John Talabot and his remixes of The Rapture, Phoenix and Delorean (also making an appearance at this year’s FYF).

For many of us who feel the festival circuit is a little tired as of late, I recommend you look into FYF to put some variety into your summer music rounds. This line-up has enough curiosity to entice even the most pretentious of electronic music fans without falling into electro-house banger territory. If you are not tired of the same ‘ol line-ups – or have blissfully ignored the repeat offenders – I urge you to branch out of your comfort zone and seek a not-so-mainstream festival for your musical needs.

Private Label has set itself apart as the single most innovative party series in Southern California. Their line-ups include the best in new music and up-and-coming trends. Different from a typical club setting, these events stray away from fist-pumping brotastic affairs in favor of disco, nu disco and indie dance. Despite this less mainstream approach, Private Label parties draw crowds comparable to what one would expect from any electro-house producer or some Swedish House protégé.

This past Friday’s show at Lure Nightclub saw French Express’ Chris Malinchak take to the decks following a sexy, downtempo set by Le Youth. Malinchak entered the electronic dance music radar with his hit, “So Good to Me” which quickly climbed national charts and drew attention from BBC Radio 1 heavyweights Pete Tong, Annie Mac and Zane Lowe.

The New York based producer and vinylphile kept with the groove saturated mood set by Le Youth and layed down some throwback house tracks of his own that kept the crowd dancing until a 2 a.m. curfew. Of course, the night would not be complete without the uplifting track of the year – as dubbed by Pete Tong himself - “So Good to Me”. There must be something said about the track’s infectious ability to put smiles on faces and hands into the air for this crowd looked as if it had been transported to nirvana. Everyone, whether in the thick of the crowd or the comfortability of the sidelines, danced when this track dropped.

Whether it is perfect timing or an inevitable trend, Malinchak’s feel-good, disco tinged tracks seem to fit perfectly alongside electronic dance music’s call to put the groove back into music. His style would most likely have the Daft Punk stamp approval and we do not doubt that more producers like Malinchak will enjoy the disco resurgence that will unquestionably make its comeback with the imminent Daft Punk release.

We could not be more ecstatic about this revival and feel reassured that Private Label and Lure will continue to be at the forefront of this movement. If you’re feeling the Monday blues because you missed the amazing sets of Posso, Le Youth and Chris Malinchak take heart in the fact that Private Label returns this Friday - and every Friday after that until June 14 – with equally amazing producers and artists. 

Check out photos from last Friday here.

Don’t miss the next Private Label Night and find out more information here.

When reading a Private Label line-up you go through a progression of giddiness that usually ends with you justifying going to every show on the roster and creating flow charts of your current expenses. Though we know that everyone in the Into the AM family would choose great music over all other basic necessities, we thought we’d help you out by giving one lucky fan a pair of tickets to one show of their choice from this amazing, discofied schedule.

Here’s what you have to do:

1. Like Into the AM and Private Label on Facebook.

2. Go to our Facebook wall and look for our post about the Private Label series. Comment and tell us who you are most excited to see and why. We will choose one winner the night before the first show (May 2) to recieve a pair of tickets to the show of their choice.

Good luck and get creative with your answers.

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Lure Nightclub
1439 Ivar Ave., Los Angeles | 21+
Tickets & Info: privatelabelnights.com

Tube & Berger will be making their Southern California debut this April, bringing the party vibes with their hybrid Live-DJ set. The duo have mastered the art of crossing genres over collective decades of experience. So pigeonhole them - if you dare - as deep or tech house musicians, but their suprising roots in punk rock will have you analyzing their tracks a little more closely.

Into the AM had the chance to talk with Tube & Berger and came away feeling much wiser about the status of EDM. Read on for the duo’s thoughts on Daft Punk, their next chairty project and Esoteric Tech House.

ITAM: So who is Tube and who is Berger? Or does your name refer to something completely unrelated?

T&B: Arndt, with the curly hair and brown eyes, is Tube and Marco, with the Beatles hair and blue eyes, is Berger. The names Tube and Berger were given to us by our friends when we were teenagers and used to hang out at a lake, smoking weed all day.

When we made our first record, we were looking for a name and everybody said, “You ARE Tube & Berger.” 

ITAM: You’re making your debut in LA for Polaroid Thursdays? Does this make you a little nervous?

T&B: Well, yes but in a positive way. At the moment, we play up to 15 gigs a month and being invited to Los Angeles is definitely a highlight! To be honest, we can’t wait to play our set and have a hell of a party with you guys.

Of course there are questions in our heads before every gig. Will people like our music? Will they dance and scream or will they just stand around? Will we party hard or find sleep early? Will the chicks be hot? And so on…

Polaroid Thursdays looks pretty cool though. We’re sure we’ll have a great night.

ITAM: Any really tourist-y things that you guys are looking forward to doing while in Los Angeles? Going to the beach? Disneyland? Etc?

T&B: We had a long winter in Europe so going to the beach is a must! Disneyland will have to wait until next time.

We’d love to take a ride down Mullholland Drive and we hope someone will show us around a little bit. If anyone has some cool ideas of what we should do in LA, just give us a shout on Facebook.

ITAM: What program do you use for mixing: Serato? Traktor? Albelton? Other? 

T&B: We play a kind of hybrid Live-DJ set with CDJs and Ableton. We both started on vinyl, but all the digital stuff gives us more possibilities and room to do what we want to do.

ITAM: Your recent hit, “Lovebreak” with Milan Euringer is such a jam! How was producing this track different from your others? 

T&B: The production with Milan was absolutely relaxed and we had a good vibe. It has this vibe that makes you feel something. Whatever that is. A wise man once said, “when music is good you feel it” and he was right. We have made some tracks and remixes without feeling them at all, but “Lovebreak” was different from the start.

ITAM: Your bio says that you were both in punk bands, was it the same band? 

T&B: Yes. We were so into punk and tried very hard to be as fucked up as possible. Berger played drums and Tube played guitar and bass. It was pretty noisy and often not even in tune, but it was great fun.

ITAM: What was it called?

T&B: One band was called Toxic Teens [laughs], but we changed our name a few times. Some very weird German names as far as we can remember, Mitteldicht, Skeechler, Hirschenköpfe.

ITAM: How have your punk band roots contributed to your deep, tech house sound?

T&B: We still use “real” instruments for our production and we like trashy guitar or samples that have a little punk in them. Some people say that we still have a certain punk attitude and some even say they can hear a bit of punk in our music.

ITAM: What other music style do you think fans would be shocked to know that you listen to? 

T&B: We listen to a lot of classical music in the car. It is very relaxing and we’re becoming fans of it more and more. Also, film music is great. Clint Mansell for example is a genius. His music is truly mind blowing in our eyes…and ears.

ITAM: Do you follow any of the trend genres, like moombahton or trap? If so, have you sought to integrate any of these elements into your style?

T&B: Sometimes we have the feeling that new trends appear within minutes and a few weeks later everybody gets bored of them because they get hyped so much. But, of course, it’s better to have new trends than just repeating the old stuff over and over again.

ITAM: Have you ever thought of doing another charity project like your “It Began in Africa” campaign?

T&B: We wanna do a third compilation for ”It Began In Africa” next year and we plan to sign new songs from the African Children’s Choir. For the third and final compilation, we will ask some of the biggest names in the scene. Not sure if Fatboy Slim or The Chemical Brothers will be on board yet.

ITAM: What do you think about the recent revival of deep house in the EDM circuit? A lot of veterans feel that new kids to the scene are just trend seeking hipsters rather than true music fans.

T&B: I wouldn’t call it a revival. What people call “Deep House” these days is pretty different from what those oldschool veterans play. We totally agree with Steve Bug, who says that there is no deep house and we don’t think our music is deep at all. Maybe it should be called hipster music. A new genre is born.

But seriously, deep house is all about hype at the moment. When minimal was the shit, we didn’t feel it and couldn’t produce it. After years of monotonia - melodies and “music” came back into EDM. Hooks, vocals and riffs were replaced by clicks and clacks and we felt at home again.

We started with punk rock, we played electro, techno, house and even trance and we listen to classical music in the car, but in the end - it’s just names, hypes and trends. If the music is good we don’t need names for it, do we? You could call our music Esoteric Tech or Hippie House. We see this as a journey into sound with no limits or boundaries. The only sure thing is that we will change our sound again and again.

ITAM: When you broke onto the electronic music scene, Beatport was in its infancy and Soundcloud and Mixcloud did not exist. Now that all three are leading platforms in the distribution of electronic music. Can you talk about how you have adapted to a world of music that is now largely internet based?

T&B: There are always two sides of the story. You can use social media and stuff like this to promote your music, your label or your new haircut. You can connect to people and fans all over the world and you can spend hours staring at other peoples profiles. But the side we don’t like is that every manager or agent will tell you that you have to join the latest sound/mix/face/cloud or whatever.

For an artist in 2013, social media means you have a minimum of 8 profiles you need to work on. And for some people, it’s more important to post funny space cats or hip triangle graphics than making music. We’re happy that our team at Kittball Records helps us deal with the daily social media madness.

ITAM: I have to ask this because almost everyone has an opinion. With all of the hype surrounding Daft Punk, do you think their release could be the boost that the electronic music scene needs? 

T&B: Daft Punk changed everything with their album “Homework” and we totally fell in love with dance music because of them in 1996. We both can’t wait to hear the album, see the videos and have that unique Daft Punk feeling again. There’s too much plastic music with no soul out there.

Random Access Memories will be a high class product and we’re sure it will set standards. Counting the days…

ITAM: If you could collaborate with any artist or musician who would it be and why?

T&B: There are a few. For example, Mike Skinner (The Streets) His lyrics, his voice, his style and his accent are just brilliant. It would be cool to check out some producer tricks of Pharell Williams or Timbaland. Working with Depeche Mode sounds like heaven. We’d also love to go mental with Mike Patten (Faith No More), who is truly one of the greatest rock & roll frontmen.

And before we forget it. If THE KLF ever reunites - call us! We can help you with Sharon Joints The Jams.

ITAM: What’s up next for Tube & Berger? Any new releases or label plans for Kittball Records?

T&B: There’s a lot of touring going on, but us T&B Hobbits never sleep and we just finished a remix for Pirupa. At the moment, we’re also working on another remix for our Spanish buddies Coyu & Edu Imbernon and our third remix for Jerome Robins and Rashid Ajami was just released on Kittball.

We decided to start working on our new album at the end of this year, and right now, we’re helping our label manager Juliet Sikora with her first album.

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CATCH TUBE & BERGER AT:

Polaroid Thursdays @ Couture in LA | April 18 | 21+ | TICKETS

We are all guilty of tweeting and instagraming photos with our favorite 80’s filter, so why not re-create that retro vibe at LA’s newest party series, featuring the best in deep house and nu-disco? Into the AM has (4) season passes to the first round of Polaroid Thursdays at Couture Nightclub, and we have decided share them with our lovely, music crazed fans! That’s right, each of our winners will enjoy Polaroid Thursdays’ April lineup - absolutely free.

March 28 | Jacques Renault and Lane 8

April 4 | Amtrac and Bitfunk

April 11 | Mighty Mouse and Jupiter

April 18 | Tube & Berger

All you have to do is like Into the AM and Polaroid Thursday’s Facebook and follow us on Twitter. Then, tweet @sheabay telling me why you deserve to win one of the passes. Get creative. If the concept of polaroids have inspired you, by all means, send those pics my way. We will choose the winners on Friday, March 22 and DM you for your full name. May the most devoted fans win!

COUTURE
21+ | 1640 N Cahuenga Blvd, Los Angeles

Despite an obscenely French name, Jacques Renault does not wear a beret, nor does he chain smoke or eat a baguette with every meal. 

The Washington D.C. native, Chicago resident and Brooklyn adoptee is set to hit the Californian shores at the end of March. So Into the AM recently caught up with the master of Brooklyn’s underground Nu Disco and House scene and we are happy to announce: he has been far from idle. Renault throws his own party series, runs multiple labels, tours the globe, produces solo and collaborative tracks - as one half of Runaway - and still made time to answer our quirky questions.

ITAM: Just so I am not butchering your name, how is it pronounced?

Ja-que Ren-u-al

ITAM: Ah, the T is silent. So what’s the story behind the cover photo on your Facebook page?

Jacques: That’s from a DFA party we did one weekend in Chile actually. It was with Justin Miller, Al Doyle was there and Liza Spencer from Still Going. Marcos and I did a Runaway set together. It was actually my second time doing that. It was great, a really big festival.

ITAM: That being said, do you have a preference for smaller parties as opposed to larger festivals?

Jacques: I actually like both. The only thing I don’t like about large festivals is that I don’t have a lot of time usually. However, the most epic moment I had was playing for thousands of people after Empire of the Sun. I just couldn’t believe it was only for 35 minutes.

I have been DJing for a while, picking out records and digital files on disc for the trip ahead, never preparing 100%. Just winging it and saying, “Alright this is what I should do now as opposed to a set plan.” When the venue is smaller, more intimate, it allow you to read your crowd. That is part of the job I really enjoy.

ITAM: I know you often play your own event series, Let’s Play House, do you attempt to create an underground vibe there?

Jacques: That’s a good question. I hope the parties are still underground. I don’t know what underground is these days though. It is something that I don’t question. It’s something that we talk about in the states…the term EDM is the scariest thing. The way that Nik Mercer (Let’s Play House founding member) and I look at it, we hope the people that get into the dance music scene will look to house, disco and the roots. I hope that dance music does spread and that younger generations listen to the roots. I certainly have over the years.

With Let’s Play House, Nik and I have been doing a lot of things. It started as a friend thing. We constantly support our friends and the music that we love. I think our events started underground - and they are still underground - but we love to do things that are for the masses as well.

It is important to have a first step into this scene and if “EDM” is selling out stadiums, then great.

ITAM: How do you think nu disco and disco will fall into this scene in years to come?

Jacques: People that are into the EDM scene will pick up on other good music. It’s not a bad thing. It is just a thing I guess. Hopefully people will listen to good music and learn the history of it.

ITAM: In an old podcast you did with Them Jeans you brought up your love for tacos. Are there any places specific to California that you have been craving? Or does the Brooklyn taco reign supreme?

Jacques: Recently, my favorite place just switched hands. Yesterday I went to Mexico 2000 on Broadway in New York. It is one of my favorite places. It is a Mexican grocery but in the back they serve tacos. We actually joke about having a taco tour in Brooklyn because there are so many good places, but you would be surprised to hear how many have closed.

One of my favorite things about LA is the food trucks.

ITAM: Any places in San Diego?

Jacques: I don’t know San Diego as well. My time there is mostly flying in and then driving to the border and going through a scary place called Tijuana. I love the crew in San Diego. I’m excited to be back.

ITAM: Do you still play your viola?

Jacques: Yes. I play my viola and trumpet as well. Once and awhile I will break that out in the studio and try to incorporate it. I joke about the strings steps and stuff. I’ve played it for friends once and awhile but I must say my chops are pretty rusty.

I basically grew up on classical music and went on to jazz. It is kind of something I always fall back on.

ITAM: So we can expect a Jacques Renault Viola Symphony recording in the future?

Jacques: Haha we’ll see. Who knows, maybe I’ll go back one day.

ITAM: Has your classical training been helpful to producing electronic music?

Jacques: Yeah, but I often say that it was Ableton that changed my life because it was so easy and such a go to.

ITAM: Earlier you brought up your production partner, Marcos Cabral, how did you guys come up with the name Runaway?

Jacques: I think that was something we just came up with while messing around. Runaway is something we just joke about. We were just making fun of stuff and thought it would be fun to work together.

ITAM: Any originals in the works?

Jacques: We have been focusing a lot on the label with a bunch of new releases coming up. Marvin and Guy from Italy, Sean Roman and Dick Diamonds from Toronto, Nasty Boy and Time Reveals from New York, to name a few. Remixers on deck are Tuff City Kids, Ron Morelli and Permanent Vacation.

We still work on music together. I don’t know if we have any releases set in stone right now but we have a couple things were trying to wrap up for another release and another friends label as well.

ITAM: Have you fallen into the trap craze at all? Any Harlem Shake?

Jacques: Fucking hilarious. My neighbor was just laughing out loud, you have no idea.

ITAM: Name three artists or labels that you expect great things from in the next couple of years.

1. Bicep. They are some great guys that have done stuff on my label and I actually did a Rinse FM show with them. Definitely one to look out for.

2. Almost from Glasgow.

3. Montel coming up on Goodnight Moon, my all-vinyl, sub label.

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A packed schedule has him playing only two Southern California dates so don’t miss out!

March 28 | Couture | Los Angeles | Polaroid Thursdays | Tickets

March 29 | Quality Social | San Diego | Presented by Fortune 421 | Tickets

If this is “Future Bass” then the future is happening now. With the recent hype surrounding such artists as Disclosure, Duke Dumont, Bondax and other forward-thinking producers, it seems fitting that Kidnap Kid should be listed amongst these top names. Along with a few pioneering individuals, he has been smoothing out the edges of bass music, making it more yielding and less-dare we say–dubstep.

Kidnap Kid’s second EP , So Close, has caught the attention of Diplo, it was named among Annie Mac’s favorites for February and it was featured on nu-disco maverick Zimmer’s monthly mixtape. 

The first track - which shares the EP title - opens with optimistic chords that obscure the line between house and its close, rave-friendly cousin, progressive house. This track’s ability to introduce popular elements and warp them into obscurity makes this track a perfect gateway for those looking to venture past EDM’s dominant genres.

“Animaux” uses syncopation iconic to UK garage - that slight hesitation you hear when you would typically anticipate a beat – to create exciting suspense. Soulful lyrics reminiscent of R&B lead you through the chord progressions.

The club version of “So Close” introduces the same, hesitant beats and is probably the best example of the “Future Bass” genre. Add in the contrasting heavy bass and this track is an instant classic.

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Current EDM generally follows a four-on-the-floor pattern or other similar meter, the sheer unfamiliarity of the syncopated beats heard in garage and future bass music might be the unexpected twist needed to supply the “next big dance movement”. Only the future knows.

SO CLOSE RELEASE: MARCH 4 via BLACK BUTTER RECORDS

FOLLOW KIDNAP KID: FACEBOOK | TWITTER | SOUNDCLOUD

This past Sunday at the Hard Rock Hotel San Diego the stress of an impending Monday seemed non-existent amongst the droves of weekend warriors who showed up to witness the audio visual spectacle of the French electronic music veteran Joachim Garraud. With the acclaimed debut of his live AV Invasion Tour set in LA just weeks ago, the guarantee of a one-of-a-kind set, drew out a mix of die-hard fans and casual spectators alike. Yet neither of which, could not have anticipated the performance he had in store.

Joachim Garraud arrived to this past Sunday’s Wintervention (the colder season offshoot of the summertime Intervention parties) and took to the stage to be greeted by hundreds of, not smiling faces, but rather, a sea of space invaders staring avidly in his direction. Iconic to his Invasion tour, this scene has probably become second nature to Garraud since everyone in attendance was personally outfitted with 3D, space invader glasses, designed specifically for this sonic & visual experience, unlike any other. And, as if preparing for cosmic battle, he wasted no time in asserting his audio visual assault on the crowd. His weapons of choice: a keytar and expertly timed visual displays, customized for this very show.

Garraud’s music selection for the evening certainly lacked no excitement, but the main attraction of the show were the 3D visuals that accompanied most of the tracks. There was no need for substance enhancement to enjoy what he had prepared, just a space invader mask and a healthy appetite for surprise were all that was needed for this adventure. Cues directed the crowd to the appropriate times to wear the masks and when to focus on his mixing and keytar skills instead.

The words “3D ON” flashed and I wasted no time in securing that elastic around my head, in preparation for an out of focus, red and blue dog to materialize and leap from the LED screen, appropriately to the tune Swedish House Mafia’s famous, “Greyhound.” Even my half-second initial thoughts of its severe over played status were immediately erased, as I became entranced by a creature that seemed to have detached itself from its two dimensional world. Throwing all my typical pretentions aside, I danced as if I was new to the EDM scene and hearing the song for the first time.

Even if you do not consider yourself an electro-house fan there was a lot about Garraud’s set to occupy the senses, not just as visuals go. On top of mixing music and visuals, he also made time to play his keytar – a severely underrated instrument. But with so much going on within his set, it was not overwhelming. He did not crowd the separate elements together, allowing the attention to be focused on each individual component, thoughtfully & harmoniously intertwined into this experience, that we watched him personally construct, just for us.

Live AV shows are still quite rare in the electronic dance world. Before Joachim Garraud’s solo, pioneer efforts – handling both the music and 3D visual portion – the world of visuals and music was largely a job for two or more people. An early foray into the live, 3D AV show was seen at the famous, We are Your Friends parties starting in 2010. Resident DJ, Ste-V-Something paired up with VJ, Rebel Overlay to create the earliest 3D experience for its fans. Rebel Overlay has since expanded into a visual company to create visuals for such acts as Mat Zo, Above and Beyond and Paul Oakenfold.

Needless to say, the integration of visual components – whether 3D or not - into the standard DJ and live set has become expected by EDM fans. In the history of visuals within electronic music sets, simple strobe lights and lasers became obsolete with the introduction of LED screens and fancier technology. LED screens were then crafted into elaborate structures, think: Deadmau5’s mask and more recently, Amon Tobin’s three dimensional video projection technology and installations.

In the economics of the EDM scene, it is safe to say that the demand of its fickle fans will be met so long as artists continue to challenge themselves by integrating new technology into their sets. Joachim Garraud created a precedent for new talent to strive to surpass and we cannot be more excited for the future.

Follow Joachim Garraud: Facebook | Twitter | Website

By: Shea Kopp

The Grammy’s represent the best in popular music and their 55th anniversary, which aired last Sunday, saw many deserving acts rewarded a coveted golden statue. But what about the artists that fly beneath the mainstram radar of Grammy acceptability? Into the AM felt the umbrella category of “dance music,” dominated by the same crop of EDM megastars, left our genre grossly under-represented. So to combat EDM’s status as the misunderstood child of the music world, we are “awarding” some of our favorite artists for their major contributions within the past year.

Disclosure – Best New Artist:

There is a lot about Disclosure’s sound that is reminiscent of 90’s garage - that odd combination of aggressive house and contrasting romance - but these UK brothers have re-vamped the genre, adding modern pop elements on top of pristine production. They have sold out multiple shows, released a respectable catalog of original tracks and created a following comparable to acts who have been in the scene for decades - all within the past two years.

The sub-bass movement is being sexified, infused with soul, and these brothers, Guy and Howard Lawrence, are at its forefront. The duo’s hit “Latch” went silver and after being featured on Soundcloud’s homepage, it quickly surpassed one-million plays. It has also been an anthem for DJs and producers of all genres who have tried to integrate the unconventional hit into their sets.

Disclosure’s ability to transcend simple genre labeling is also astonishing. Their popularity has garnered attention from fans across a wide musical spectrum – from mainstream and pop, to EDM and indie alike. And their tour schedule, which sees them playing the rock saturated SXSW a day before before heading to the EDM-centric festivities of Ultra, is the perfect testament to that mass appeal.

Follow Disclosure on: Facebook | Twitter | SoundCloud

By: Shea Kopp

Porter Robinson – Best Dance Recording:

Porter Robinson may be 20 years old, but this young star of EDM should have been awarded a Grammy for his massive single “Language.” I couldn’t believe it when he was snubbed from the nomination card. Although Al Walser was taking up a spot, which is another story. 

“Language” features elements from multiple genres, fusing trance, progressive, and eletro into a single masterpiece. Progressive house was all the rage in 2012, but no other production could match the euphoric feeling of this track. Thanks in no small part to the elegant vocal of Heather Bright, which only contains six lines, yet conveys infinite depths of emotion.

“Language” also delivered one of EDM’s best music videos with wonderful story telling and breathtaking visuals dirtected by Jonathan Desbiens, who recently did the video for Zedd’s “Clarity.”

By: Ryan Phife

Zedd - Best Dance Album

Zedd may be young, but his contibution to dance music can not be understated. His debut album, “Clarity,” which was released shortly after the official Grammy deadline, delivered 10 of the most forward thinking tracks of 2012, challanging the distinction between pop and EDM without losing its dance floor appeal. 

The album’s first single, “Spectrum,” helped to launch the career of singer Matthew Koma, as it climbed the upper reaches of the Billboard charts and was lovingly embraced by DJs worldwide.Then, its second single and title track came out to such widespread praise that Zedd became the first EDM act to perform on late night television.

Zedd deserves a Grammy because he uses his musical gifts to transcend the “EDM” label and produce tracks that redefine the genre. He has become our most trusted ambassador, proving the legitimacy of dance music and continually pushing its boundaries. So if “Clarity” isn’t up for a Grammy in 2014, the system is broken.

Follow Zedd: Facebook | Twitter | Soundcloud

By: Alex Jennison

Psychemagik have built a reputation for themselves as the go-to guys where music is vinyl-y concerned. Their vast collection is the product of year’s of hunting and includes multiple rare recordings. It is only natural that they should craft their edits and remixes with the musical influence of the era’s, mere inches from their fingertips. Their recent version of Fleetwood Mac’s ‘Dreams’ topped Hype Machine charts for weeks and is only one of multiple re-works that transcend the simple label, ‘remix’. They released an original EP, ‘Lunar Escape’ in December that embodies a disco sound that has been reinvigorated with their cosmic touch. Leading to their arrival on the west coast and the launch of their USA tour, The Mixster caught up the psychedelic gods of disco edits to get their thoughts on all things vinyl, their approach to remixes, and their top musical picks going into 2013. Read their words below: 

Q: So you’re kicking off a nice little 15 date tour at the beginning of next month, what’s one thing that you’re looking forward to seeing/doing/eating in the States?

Psy: It’s gonna be an awesome way to see America…we’re really looking forward to all the people we’ll meet along the way.  

Q: You guys have built up your reputation as ‘crate diggers’, or vinylphiles (if you will). Do you make an effort to track down record stores when you are on tour?

Psy: Yeah…definitely want to hit as many record shops as possible on this trip!  

Q: Traveling can only add to the uniqueness of your collection. But with such a huge collection, I imagine that coming across rare gems is a little harder these days. What was the last album that you were completely siked or shocked to find?

Psy: Fortunately finding amazing new records is a daily occurrence, it seems to be a bottomless pit, we’re constantly astounded at how many incredible records were made in the 70s & 80s, those were truly golden era’s.

Q: How do you manage to travel with records? I imagine you’d have to buy an extra plane ticket for some of your more valuable ones.

Psy: One of the reasons we use CDs for Djing is to save space for sacred vinyl in our luggage. On the last Oz tour we had to pay for another check in bag just for vinyl purchases and had to Fed Ex a crate home.  

Q: On average, how many pieces of vinyl do you guys travel with?

Psy: Depends what we find. The last tour we came back with over 250 records.

Q: What other properties, earthly or beyond, would you say possess or encompass “Psychemagik”?

Psy: Black Gold.

Q: How do you go about playing for new ‘scenes’? Every city seems to have their niche crowds; do you find that some cities are more responsive to your music than others?

Psy: There are a lot factors involved…we definitely do a bit of homework prior to gigs to look for trends if there are any. Sometimes we will tailor our sound for a night but mostly we have found crowds near and far to be really responsive to our sets.

Q: In the studio (or technically speaking), how do you first approach a remix?

Psy: Usually we start by stripping the track back and picking the elements we like and think we might keep. We really like to put our own stamp on a remix so often we don’t end up using much of the original. It’s an opportunity take an idea on a totally new journey so we like to go deep in terms of production. We’ll throw a load of ideas and riffs at it to start with and see which feels right. Sometimes it’s about reaching a balance between a few ideas and then it starts to take shape. Feeling and vibe have so much to do with it and these can be completely altered by the slightest tweak. Often the direction will find itself and we just follow the funk!

Q: Your last EP, ‘Lunar Escape’, is self described as a ‘cosmic’ trip which is not too hard to envision when you listen. What do you think it is about the elements used in your music that make it ‘cosmic’?

Psy: Vintage analogue synthesizers help a bit!

Q: You have a track called, ‘Bass Purr’, that is undeniably heavier than most of your tracks. Where did the inspiration for this come from? Any specific influence come to mind?

Psy: We’re constantly playing and experimenting with different styles…obviously this has a Dubstep influence from the Bass sound. We spent time crafting this sound to try to make it unique. As each note is triggered the bass starts mono then spreads and modulates over time…a good headphones experience!! Q: Which THREE artists/labels are you excited about right now?

Psy: ESP, Hypercolour, Dirty Bird to name a few. We have a small imprint of our own about to debut so keep an eye out for that.

Catch Psychemagik this Thursday (2/7) for their El Dorado (and their San Diego) debut!

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By: Shea Kopp

Those who have attended a Proxy set know that it is a borderline riotous affair. Not only in the sense of epic basslines and episodic drops, but rather listening to Proxy on the decks makes one feel like they should rise up against oppression and take up arms to fight ‘The Man’.

This past November, Proxy’s East Block Jungle, Pt. 1 garnered rave reviews from fans across a wide spectrum of electronic music. But with the release of part one came the suspenseful anticipation of part 2. Into the AM got to preview Eastblock Jungles, Pt. 2. And after listening, we felt that we should offer a disclaimer:

WARNING: Not for the faint hearted.

The undeniably militaristic nature of Proxy’s sound makes it easy to envision the pock marked, propaganda strewn past of the Russian nation. Piercing frequencies seem to cut your brain in half while listening, a phenomenon unique to Proxy alone. The opening track of Music from Eastblock Jungle, Pt. 2, “Blood,” wastes no time in asserting the dance floor czar’s presence, as dominating orchestra horns blare forth and high frequencies sneak into the background like a hypersonic air raid.

While Part 1 reigned in the bass heavy dynamics we expect from Proxy, the second installment brings the tone down and introduces multiple unexpected influences. Yet, with decidedly contrasting elements making their mark on his tracks, Proxy maintains his revolutionary signature. Whether an intentional complement to Part 1’s track, ‘8000’ or not, ‘9000’ begins with a similarly hip-hop influenced groove. Although, of course, it would not be a Proxy track if he did not layer in tones reminiscent of acid-house.

Another testament to Proxy’s versatility is the track entitled “Coke,” which starts with a distinct disco vibe while layering bongo drums over Eastern flavored vocals. The playfulness of this track is like none he has produced before and introduces a healthy irony into the heavy politics of his music.

Even though Proxy’s music may sound like an atomic bomb threat, there is something oddly alluring about his productions - a sort of dance or die effect. One cannot help but feel the frenzied urgency of his sound and capitalize on that euphoria. Maybe it’s a stretch, but listening to Proxy seems comparable to surviving a near death experience.

RELEASE: FEBRUARY 11 via DIM MAK RECORDS

Follow Proxy On: Facebook | Twitter | Soundcloud | Myspace

We wish we could vouch for the acoustics of the eerie location used for this past week’s Boiler Room party but - as we were stuck in the states for this epic event - we can only comment on the perfect setting created by the refurbished bathhouse that was the heart of the House of Vans series. The event was the long overdue Boiler Room debut of techno gods Hercules and the Love Affair, Brodinski and Gesaffelstein. Joining them was the returning talent of Berlin natives, Modeselektor and Boys Noize. If you have not ever experienced a Boiler Room set, we here at ITAM truly stand behind the concept that the Red Bull Music Academy sponsored company works towards: procuring good music streaming live and archive for the public to enjoy. 

Going to an event knowing that Brodinski is going to be spinning, you are probably aware that you are in for quite a treat. Going to an event knowing that Brodinski is just the opening act, you are probably aware that you are in for one hell of a party. This was the case for the Vans Boiler Room party in Berlin, Germany. Brodinski, known as being one of the more forward thinking DJ’s in the scene, wasted no time in getting this party started. Starting off nicely with some deeper tracks, guests were welcomed into the party with some heavy beats to whet their palettes with early on in the night. Weaving through tracks from artists such as Skream, DJ Funeral, and Marcel Dettman, those in the crowd were treated to an extremely fresh set. However, the most entertaining bits within Brodinski’s set easily came from the hip-hop tracks that he peppered in throughout his track selections. Those who have followed Brodinski throughout the years know he has always had a passion for hip hop and this set clearly displayed his love for the genre. Easily my favorite part of not just his set but the entire night was Brodinski ending his hour with Kendrick Lamar’s “m.A.A.d. city” into the classic Crime Mob track, “Knuck If You Buck.”

Transitioning from his current live tour he has being doing under the title “OUT OF THE BLACK” back to a DJ set, Boys Noize couldn’t resist to maintain his complex nature of perfomance. Going from zip drives on cdj’s to cd’s and vinyl and back just proves the versatility and creativity the Berlin native has. Perhaps he was flexing some extra musical muscles for his local crowd, I’m just glad we here in the states got to witness it up close and personal. Starting off his set with the eclectic remix of “XTC” by MMM set the tone for this wild 90 minute performance. My personal highlight is the love he has been showing to Audionite and his unreleased track, “No Good”. Not to mention how enjoyable it is to see up close the energy Boys Noize exudes into these sets.

Side note: If you were the kid wearing the Boys Noize t-shirt in the front, we have a message for you (two assumptions here: first, you are actually reading this. And second,  that you actually speak English.): Please remove yourself and go to the back of the crowd next time. You are not the show because you are on the camera nor does greater proximity make you better friends with the DJ. Great enthusiasm though my german friend; I’ll give you points there.